Music, Lapita, and the Problem of Polynesian Origins by Mervyn McLean To Bruce Biggs (1921 - 2000) whose Pollex files revolutionised linguistic research in Polynesia Title page illustration: Tattooed Marquesan warrior with Cassis shell conch. Ref.: Andersen 1934:opp.70, from Dumont d'Urville, 1846, Atlas pittoresque, Voyage au Pole Sud, vol.1, Plate 58 © Mervyn McLean 2014 This e-book may be freely downloaded for personal use but is otherwise subject to all the provisions and restraints of applicable copyright law. ISBN # PENDING Auckland The author 2 Contents Chapter 1. Introduction ..................................................................................... 5 Chapter 2. Early ideas of origin ....................................................................... 9 Chapter 3. The ethnographic divisions ........................................................... 15 Chapter 4. Archaeology and the Lapita cultural complex ............................. 19 Chapter 5. Linguistics .................................................................................... 25 Chapter 6. Music ............................................................................................ 30 Chapter 7. Physical anthropology and genetics ............................................. 79 Chapter 8. Canoes .......................................................................................... 84 Chapter 9. Voyaging ...................................................................................... 92 Chapter 10. Ethnography ............................................................................... 95 Chapter 11. Food plants ............................................................................... 105 Chapter 12. Domestic animals ..................................................................... 146 Chapter 13. Betel, kava, and toddy .............................................................. 156 Chapter 14. Sea levels .................................................................................. 165 Chapter 15. Discussion and conclusions ...................................................... 176 References ..................................................................................................... 199 Appendix 1 Chronology of scholarly events ................................................ 222 Appendix 2 Pollex area codes ....................................................................... 226 Appendix 3 Glossary of name changes .......................................................... 228 Appendix 4 Abbreviations for linguistic subgroups ...................................... 229 Acknowledgements ........................................................................................ 230 About the author ............................................................................................ 231 Illustrations Map Oceania ..................................................................................................... 4 Map Diffusion in Island Melanesia ................................................................. 34 Linguistic subgroups referred to in the text .................................................... 41 Bismarck Archipelago showing language map codes .................................... 42 NZ Maori conch .............................................................................................. 74 Hawai'i drum ................................................................................................... 74 Mangaia drum ................................................................................................. 75 Tahiti nose flute ............................................................................................... 75 Tonga nose flute ............................................................................................... 76 Bahinemo, PNG slit gong ............................................................................... 76 Tonga slit gong ................................................................................................. 77 Atiu slit gong ................................................................................................... 77 Samoa dance ................................................................................................... 78 Tonga dance with stamping tubes ................................................................... 78 3 Map of Oceania showing conventional culture areas 4 Chapter 1 Introduction When the present writer began field work on traditional Maori music in 1958, the diverse fields of Music and Anthropology were only just beginning to converge. Unknown to me as I made my very first recordings in the Bay of Plenty area of New Zealand, the ethnomusicologist Alan P. Merriam was working on his epoch-making book, The Anthropology of Music (1964) in the United States. This book later became my bible as I undertook more research and worked on a PhD, only the third, I was told to be awarded on the subject of Music in New Zealand. These were pioneer days for the discipline of Ethnomusicology, and everything about it at the time was new, especially as it related to Anthropology. But it soon became apparent to me that it could make a significant contribution on issues that had occupied Pacific scholars for at least a hundred years, including the vexed question of "The Coming of the Maori" as articulated at this time by the ethnologist Sir Peter Buck (Te Rangi Hiroa), and further back still the origins of the peoples of Polynesia, whose remarkable history was equally the subject of debate. European discovery of the Pacific did not begin until at least half a millennium after Polynesians had conquered the last frontier of this vast ocean expanse by reaching New Zealand. More impressive still is an even greater time depth of at least three thousand years since pre-Polynesians are believed to have ventured out of SE Asia to begin their journeys into what is now known as Remote Oceania. Their story has been the subject of numerous books and articles, and theories about where they came from have proliferated since the first encounters with Polynesians by European navigators in the eighteenth century. Some of the theories are mere flights of fancy and can readily be dismissed; some which once seemed credible have now been disproved; some can best be regarded as half true; and others are still the subject of debate. Prominent among them is a deeply embedded current view, which has gained currency over the past thirty or so years and is now subscribed to by most anthropologists. According to this view, Polynesians evolved from a group of pre-Polynesian settlers known as Lapita people whose characteristically dentate stamped pottery has been found in numerous archaeological sites stretching from the Bismarck Archipelago on the eastern fringe of Papua New Guinea south-eastwards through Island Melanesia to Fiji, and from there to nearby Tonga and Samoa in Western Polynesia. Why another book? The literature on Polynesian origins and information bearing upon it is so vast it may well be asked why burden the reader with yet another book about it, and, from the author's point of view, why bother to write one? The answer quite simply is that among the numerous attempts to solve the problem there are many loose ends, and it is time for review. The current orthodoxy, while 5 standing the test of time in most respects, is now in need of adjustment; musical evidence has not so far been taken into account; and some past ideas are worth re-visiting. The present book takes an historical view of the issues, summarising and evaluating theories of Polynesian origin from the eighteenth century onwards, providing some account of methodologies used by scholarly disciplines which have been brought to bear on the subject, and data so gained, including evidence from music and dance, which forms the core of the book. The results, as will be seen, call to question the orthodox theory of Polynesian origin from Lapita potters. Setting the scene Two main considerations underlie the discussions to follow. The first is that the peoples spoken of were maritime members of the Austronesian language family, dependent for all but local communication upon sea-going canoes. As a result they were constrained by barriers such as sea gaps, and cultural complexes of a regional nature emerged in consequence. For subsistence they were dependant primarily on the produce of the sea, upon near and off-shore fishing, and upon shell fish and other coastal resources. Horticulture and domestic animals were fully exploitable only on high islands, and were meagre or in some cases absent altogether in atolls which were the predominant environment in Micronesia and in the Polynesian Outliers. Second to be considered is exactly what happened when people ventured beyond the boundaries of their own local regions. It is inaccurate to label these excursions as migrations except cumulatively over a period of time. Captain Cook saw flotillas of canoes in Tahiti, on one occasion in 1778 of war canoes (Bellwood 1978a:298), and on another bearing 'Arioi entertainers to adjacent nearby islands, and Maori oral tradition speaks of a "Fleet" of seven canoes that were once thought to have brought the Maori people to New Zealand. But the flotillas seen by Cook were a local development of the Society Islands with no precedents in Western Polynesia, and the idea of a Maori Fleet has long since been discredited. The reality is that only one or two canoes at most would have